document_title: Fast Times at Ridgemont High

question_text: where was fast times at ridgemont high filmed

text: Fast Times at Ridgemont High

text: Plot[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (July 2017) (Learn how and when to remove this template message)

text: Brad Hamilton is a popular senior at Ridgemont High School and is looking forward to his final year of school and almost has his 1960 Buick LeSabre paid off. He has a job at All-American Burger, where his girlfriend Lisa also works; Brad is eventually fired for lashing out at an obnoxious customer. When trying to tell Lisa how much he needs her, she informs Brad that she wants to break up with him in order to date other guys. Brad then quits his job at Captain Hook Fish & Chips because of the humiliation of having to wear a pirate costume when delivering food.

text: Brad's sister Stacy is a 15-year-old sophomore and also a virgin. She works at a pizza parlor at the Ridgemont Mall alongside her outspoken friend, the popular and sexually active Linda Barrett. One night at work, Stacy takes an order from Ron Johnson, a 26-year-old stereo salesman who asks her out after she tells him she's 19 years old. She later sneaks out of her house to meet him and they have sex in a dugout at a softball field. Stacy never hears from Ron again, revealing the loss of her virginity to Linda.

text: Mike Damone, a somewhat smooth-talking know-it-all, who earns money taking bets and scalping concert tickets, fancies himself a sagacious and worldly ladies' man. Mike's shy but amiable friend Mark Ratner works at the movie theater across from the pizza parlor at the mall. When Mark proclaims his love for Stacy to him, Mike lets Mark in on his five secrets for picking up girls. Mike later convinces Mark to ask Stacy out on a date to a German restaurant. Afterwards, at her home, Stacy invites Mark into her bedroom, where they look at Stacy's photo album together. They begin to kiss, but Mark abruptly leaves after Stacy attempts to seduce him. Stacy mistakenly interprets Mark's shyness as disinterest. Eventually Stacy becomes interested in Damone and she invites him to have a swim in her pool, which leads to them having sex in the pool house. Stacy later informs Damone that she is pregnant, and tells him she's scheduled an abortion and wants him to pay half of the bill. On the day of her appointment, embarrassed at being unable to raise the money for his half of the bill, Damone begins to ignore Stacy. Stacy asks Brad to drive her to a bowling alley to meet friends, but Brad sees Stacy enter the abortion clinic across the street. Brad waits for Stacy and he confronts her about the abortion. Stacy has Brad promise not to tell their parents. When Stacy tells Linda, Linda becomes angry at Damone, leading to an almost physical confrontation between Damone and Mark in the boys' locker room until it is broken up by the gym teacher.

text: Jeff Spicoli is a stoner and surfer who runs afoul of strict history teacher Mr. Hand, who is intolerant of Spicoli's disregard of the rules of his classroom. One night, Spicoli wrecks Ridgemont star football player Charles Jefferson's 1979 Chevrolet Camaro Z28 during a joyride with Jefferson's younger brother. Spicoli decides to park the car in front of the school with slurs painted on it supposedly written by Ridgemont's rival, Lincoln High. When Ridgemont plays Lincoln, Jefferson (furious about his car) thrashes several of Lincoln's players and wins the game for Ridgemont. On the evening of the graduation dance, Mr. Hand shows up at Spicoli's house and informs him that since he has wasted eight hours of class time over the past year, Mr. Hand intends to make up for it that night. They have a one-on-one session that lasts until Mr. Hand is satisfied that Spicoli has understood the lesson.

text: In the end, Mark and Stacy get back together. Brad takes a job at a convenience store and is promoted to manager after foiling a robbery, with help from Spicoli. The fates of some of the other characters are revealed in an epilogue: Spicoli saves Brooke Shields from drowning and then spends the reward money hiring Van Halen to play at his birthday party. Linda gets accepted to UC Riverside and moves in with her Abnormal Psychology professor. Damone gets arrested for scalping Ozzy Osbourne tickets and gets a job at 7-Eleven, and Mr. Hand still believes everyone is "on dope".

text: Cast[edit]

text:
Sean Penn as Jeff Spicoli
Judge Reinhold as Brad Hamilton
Jennifer Jason Leigh as Stacy Hamilton
Robert Romanus as Mike Damone
Phoebe Cates as Linda Barrett
Brian Backer as Mark "Rat" Ratner
Amanda Wyss as Lisa
Ray Walston as Mr. Hand
Forest Whitaker as Charles Jefferson
Scott Thomson as Arnold
Vincent Schiavelli as Mr. Vargas
Lana Clarkson as Mrs. Vargas
Eric Stoltz as Stoner Bud
Anthony Edwards as Stoner Bud
Nicolas Cage as Brad's Bud
Taylor Negron as Mr. Pizza Guy
James Russo as Convenience store robber
Pamela Springsteen as Dina Phillips
Kelli Maroney as Cindy

text: Production[edit]

text: Development[edit]

text: The film is adapted from a book Crowe wrote after a year spent at Clairemont High School in San Diego, California. He went undercover to do research for his 1981 book Fast Times at Ridgemont High: A True Story, about his observations of the high school and the students he befriended there, including then-student Andy Rathbone, on whom the character "Rat" was modeled.[3][4]

text: Casting[edit]

text: Heckerling shepherded the young cast, which included Nicolas Cage in his first feature-film role, portraying an unnamed co-worker of Brad's at All-American Burger. He was credited as "Nicolas Coppola."[5] It was also the film debut for Eric Stoltz and provided early roles for Anthony Edwards and Forest Whitaker. Crowe's future wife Nancy Wilson of Heart has a cameo as the "Beautiful Girl in Car" who laughs at Brad at the red light in his Captain Hook uniform.

text: Filming[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2013) (Learn how and when to remove this template message)

text: Fast Times was filmed in the San Fernando Valley of Los Angeles (though the location is never mentioned in the film) from November 10 through December 28, 1981. Many people identify the movie with that area and the teen culture associated with it in the early 1980s. "Ridgemont" is the name Crowe gave to Clairemont, the San Diego high school at which he posed as a student. (Spicoli mentions surfing at Sunset Cliffs, a genuine surf spot in San Diego.) Most of the exteriors of Ridgemont High School were shot at Van Nuys High School, and other scenes were shot at Canoga Park High School. The "carrot" scene and football game were shot at James Monroe High School in Sepulveda (now called North Hills). The "Ridgemont Mall" scenes used Sherman Oaks Galleria for interiors, and Santa Monica Place for exterior shots. Both have since been converted to open-air malls. "The Point" was filmed at the Encino Little League Field in Encino.

text: In the DVD commentary, director Heckerling tells of how Cates was initially reluctant to carry out her character's poolside topless scene at the house in West Hills because she thought the neighbors might be spying on the set from the surrounding rooftops.

text: Soundtrack[edit]

text:
Fast Times at Ridgemont High: Music from the Motion Picture

Soundtrack album by various artists

Released
July 30, 1982

Genre
Rock and Pop

Length
65:50

Label
Elektra Records

Producer
various artists

Singles from Fast Times at Ridgemont High: Music from the Motion Picture

"Somebody's Baby"
Released: July 1982

text:
Professional ratings

Review scores

Source
Rating

Allmusic
[6]

text: The soundtrack album, Fast Times at Ridgemont High: Music from the Motion Picture, peaked at #54 on the Billboard album chart.[7] The soundtrack features the work of many quintessential 1980s rock artists.

text: Several of the movie's songs were released as singles, including Jackson Browne's "Somebody's Baby", which reached #7 on the Billboard Hot 100 singles chart.[8] Other singles were the title track by Sammy Hagar, a cover of The Tymes' "So Much in Love" by Timothy B. Schmit, "Raised on the Radio" by the Ravyns and "Waffle Stomp" by Joe Walsh. In addition to Schmit and Walsh, the album features solo tracks by two other members of the Eagles, Don Henley and Don Felder. The soundtrack also included "I Don't Know (Spicoli's Theme)" by Jimmy Buffett and "Goodbye Goodbye" by Oingo Boingo (led by Danny Elfman).

text: Five tracks in the film, but not included on the soundtrack, are: "Moving in Stereo" by the Cars, "American Girl" by Tom Petty and the Heartbreakers, "We Got the Beat" by the Go Go's, which is the movie's opening theme; Led Zeppelin's "Kashmir", and "Jingle Bell Rock" by Bobby Helms. In addition, the live band at the prom dance during the end of the film played two songs also not on the soundtrack: The Eagles' "Life in the Fast Lane" and Sam the Sham's "Wooly Bully".

text: The Donna Summer track, "Highway Runner", was initially recorded in 1981 for her double album entitled I'm a Rainbow; however, the album was shelved by Summer's then-label, Geffen Records, but ultimately released in 1996 by Mercury Records.

text: Todd Rundgren also recorded the song, "Attitude", for the film at Crowe's request. It was not included in the film, but was later released on Rundgren's Demos and Lost Albums in 2001.

text: In some countries, the album was (also) released as a single LP with ten tracks.[9]

text: Heckerling, in the DVD audio commentary, states that the 1970s "classic rock" artists, like the Eagles, were introduced by one of the film's producers. Coincidentally, Irving Azoff, one of the film's producers, was the personal manager for the Eagles and Stevie Nicks.[10]

text:
No.
Title
Writer(s)
Performer
Length

1.
"Somebody's Baby"
Browne, Danny Kortchmar
Jackson Browne
4:05

2.
"Waffle Stomp"
Walsh
Joe Walsh
3:40

3.
"Love Rules"
Henley, Kortchmar
Don Henley
4:05

4.
"Uptown Boys"
Goffin, Janna Allen
Louise Goffin
2:45

5.
"So Much in Love"
George Williams, Bill Jackson, Roy Straigis
Timothy B. Schmit
2:25

6.
"Raised on the Radio"
Rob Fahey
The Ravyns
3:43

7.
"The Look In Your Eyes"
McMahon
Gerard McMahon
4:00

8.
"Speeding"
Jane Wiedlin, Charlotte Caffey
The Go-Go's
2:11

9.
"Don't Be Lonely"
Marv Ross
Quarterflash
3:18

10.
"Never Surrender"
Felder, Kenny Loggins
Don Felder
4:15

11.
"Fast Times (The Best Years of Our Lives)"
Squier
Billy Squier
3:41

12.
"Fast Times at Ridgemont High"
Hagar
Sammy Hagar
3:36

13.
"I Don't Know (Spicoli's Theme)"
Buffett, Michael Utley
Jimmy Buffett
3:00

14.
"Love Is the Reason"
Nash
Graham Nash
3:31

15.
"I'll Leave It Up To You"
Rusty Young
Poco
2:55

16.
"Highway Runner"
Giorgio Moroder, Summer
Donna Summer
3:18

17.
"Sleeping Angel"
Nicks
Stevie Nicks
4:43

18.
"She's My Baby (And She's Outta Control)"
Dave Palmer, Phil Jost
Palmer/Jost
2:53

19.
"Goodbye, Goodbye"
Danny Elfman
Oingo Boingo
4:34

text: Reception[edit]

text: Box office[edit]

text: Universal gave the film a limited theatrical release on August 13, 1982, opening in 498 theaters. It earned $2.5 million in its opening weekend. The release was later widened to 713 theaters, earning $3.25 million. The film ranked 29th among US releases in 1982, ultimately earning more than $27 million,[12] six times its $4.5 million budget, and later gaining popularity through television and home video releases.

text: Over the years the film has obtained an iconic status. In an interview, Penn stated: "None of us had any idea it would take on a life of its own."

text: Critical response[edit]

text: The film has a 78% "Certified Fresh" rating on Rotten Tomatoes based on 48 reviews, with the site's consensus stating "While Fast Times at Ridgemont High features Sean Penn's legendary performance, the film endures because it accurately captured the small details of school, work, and teenage life."[13]

text: Roger Ebert called it a "scuz-pit of a movie", though he praised the performances by Leigh, Penn, Cates, and Reinhold.[14] Janet Maslin wrote that it was "a jumbled but appealing teen-age comedy with something of a fresh perspective on the subject."[15]

text: Accolades[edit]

text: Crowe's screenplay was nominated for a WGA Award for best comedy adapted from another medium. The film ranks #15 on Bravo's "100 Funniest Movies",[16] and #2 on Entertainment Weekly's list of the "50 Best High School Movies".[17]

text: The film is also recognized by American Film Institute in these lists:

text: 2000: AFI's 100 Years...100 Laughs – #87[18]

text: Television spin-off[edit]

text: The film inspired a short-lived 1986 television series for CBS called Fast Times. Ray Walston and Vincent Schiavelli reprised their roles, respectively as Hand and Vargas, the biology teacher. Other cast members were Courtney Thorne-Smith (Melrose Place) as Stacy, Wallace Langham (credited as Wally Ward) as Mark, Claudia Wells (Back to the Future) as Linda, Patrick Dempsey (Grey's Anatomy) as Mike Damone, Dean Cameron as Jeff Spicoli, and James Nardini as Brad. Kit McDonough played teacher Leslie Melon, a character that was exclusive to the series.

text: Moon Zappa was a "technical consultant" for the television series.[19] She was hired in order to research slang terms and mannerisms of teenagers, as she had just graduated from high school at the time and had a much better grasp of then-current high school behavior than the writers, and Danny Elfman (Oingo Boingo) wrote and performed the television series theme.


document_title: The Hot Chick

question_text: who played the bartender in the hot chick

root

text: The Hot Chick

text: Plot[edit]

text: In the palace of the Abyssinian King (Ozman Sirgood) in 50 BC, Princess Nawa (Shazia Ali) uses a pair of enchanted earrings to escape an arranged marriage by swapping bodies with a slave girl (Vivian Corado). When each woman wears one of the earrings, their bodies magically trade places while their minds remain where they were.

tag: p

text: In the present day, Jessica Spencer (Rachel McAdams) is a popular high school girl in suburban California with her friends April (Anna Faris), Keecia (Maritza Murray), and Lulu (Alexandra Holden). April is Jessica's best friend, and all four girls are cheerleaders. At school one day, Jessica makes fun of a bigger girl named Hildenburg (Megan Kuhlmann) and a wiccan girl named Eden (Sam Doumit). After that, Jessica and her friends visit the local mall, where Jessica frames her rival Bianca (Maria-Elena Laas) for shoplifting, and finds the earrings in an African-themed store. The earrings are not for sale, so Jessica steals them.

text: Shortly afterward, a small-time criminal named Clive Maxtone (Rob Schneider) robs a nearby gas station. When Jessica and her friends stop there and mistake him for an employee, he services their car to avoid raising suspicion. Jessica accidentally drops one of the earrings on the ground, and Clive picks it up after the girls drive away. That evening, Jessica and Clive put on their earrings. When they wake up the next morning, each of them is trapped in the other's body. This is especially difficult for Jessica, who has a cheerleading competition and the school prom coming up soon. While at first difficult, Jessica convinces April, Keecia, and Lulu of her true identity.

text: The girls write a list of suspects of who could be responsible. They first seek Hildenburg, where Jessica apologizes for humiliating her in front of the entire school during the basketball game earlier, and the two make amends. They soon seek Eden, where Jessica also apologizes for her jealousy of Eden getting the only "A" on a report of the Salem witch trials. Eden reveals an ancient Latin witchcraft called "Santeria", which originated in Africa, and found its way into Cuba and Brazil. Lulu ties this connection to Bianca, but Eden reveals that only a tattoo of a scorpion on her back could confirm this. While investigating at a dance club called 'Instant Tang', Bianca is proven innocent after Jessica rips her shirt to see if she has the tattoo, which she doesn't.

text: The girls then find a picture of the earrings on the internet, and the girls post fliers all over town. They also get help from Keecia's awkward mother (Jodi Long) and Venetia and Sissie (Tia Mowry and Tamera Mowry), twin sisters who are on Jessica's cheerleading squad. The girls tell this to Madame Mambuza (Angie Stone), the owner of the African store at the mall. Madame Mambuza tells the girls the story of Princess Nawa, who, after switching bodies, was unaware that she had to bring the earrings back together. Nawa lived the rest of her life in the slave's body. Jessica could suffer the same fate if she does not unite the earrings before the end of the full moon.

text: Meanwhile, Jessica is hired for two jobs while secretly living with April. At her home, where she works as a gardener named Taquito, her parents tell her about their marital problems and she helps them rekindle their sex life. At school, while cleaning the boys' locker room as a janitor, she spies on her boyfriend Billy (Matthew Lawrence), who truly loves her and April's boyfriend Jake (Eric Christian Olsen), who secretly has another girlfriend named Monique (Ashlee Simpson). Faced with Jake's infidelity, April breaks up with him, and Jessica agrees to take her to the prom. At the cheerleading competition, Jessica signals romantically to Billy while disguised as the school mascot, but when the head of her suit falls off, he becomes confused and leaves with Bianca.

text: During this time, Clive has been using Jessica's body to make money from men, including Billy, who gives him his money and car, believing he is Jessica. On the evening of the prom, Hildenburg sees a video of Clive robbing a man on the television news and goes to the scene of the crime. After finding a business card for the club where Clive works as a pole dancer, she informs Jessica at the prom, and the girls go to the club. When they find Clive, Jessica steals his earring and puts it on herself along with the other one. With the two earrings now on the same person, Jessica's and Clive's bodies return to their original owners.

text: After Jessica makes up with Billy, the film ends with the school's graduation ceremony, where Keecia and her mother reconcile. The previous night, Clive, running from the law and still dressed in lingerie, jumps into the car of the same bartender (Scott Dolezal) Jessica encountered in the body of Clive. The bartender smiles and locks the car door. The movie ends with the car speeding away, and Clive turning around and screaming.

text: Cast[edit]

text:
Rob Schneider as Clive Maxtone/Jessica Spencer
Rachel McAdams as Jessica Spencer/Clive Maxtone
Anna Faris as April
Matthew Lawrence as Billy
Michael O'Keefe as Mr. Richard Spencer
Melora Hardin as Mrs. Carol Spencer
Alexandra Holden as Lulu
Maritza Murray as Keecia "Ling-Ling" Jackson
Sam Doumit as Eden
Megan Kuhlmann as Hildenburg
Eric Christian Olsen as Jake
Matt Weinberg as Booger Spencer
Robert Davi as April's father
Leila Kenzle as April's mother
Jodi Long as Keecia's mother
Tamera Mowry as Sissie
Tia Mowry as Venetia
Maria-Elena Laas as Bianca
Angie Stone as Madame Mambuza
Lee Garlington as Vice Principal Marjorie Bernard
Dick Gregory as Bathroom attendant
Ashlee Simpson as Monique
Michelle Branch as Club DJ
Scott Dolezal as Night Club bartender
Adam Sandler as Mambuza Bongo Guy (uncredited)
Ozman Sirgood as The King
Shazia Ali as Princess Nawa
Vivian Corado as Slave Girl
Jenna Dewan as Bianca Salsa Girl

tag: ul

text: Casting[edit]

text: Singers Ashlee Simpson and Michelle Branch each make their feature film debut with cameo roles. Wes Takahashi, former animator and visual effects supervisor for Industrial Light & Magic, makes a cameo appearance as a news reporter.[2] Schneider's mother Pilar appears as a judge of the cheerleading contest.

text: Release[edit]

text: The Hot Chick was originally rated R, but several scenes were edited out in order to receive the broader PG-13 rating. The R version was classified 12A in Britain, maintaining the same rating given to the PG-13 theatrical version.[citation needed]

text: Before the film was released theatrically, previews indicated the title would be Miss Popularity.[citation needed]

text: Reception[edit]

text: Box office[edit]

text: The film opened at #5 at the U.S. box office on the weekend of December 13–15, 2002, taking in $7,401,146 USD, averaging $3,338 across the 2,217 theatres where it was shown. It went on to earn a total worldwide gross of $54,639,553.

text: Critical response[edit]

text: Rotten Tomatoes gave the film a score of 22% based on 81 reviews.[3]

text: Roger Ebert and Richard Roeper gave the film two thumbs way down. Ebert gave the film half a star (out of a possible four), declaring, "The MPAA rates this PG-13. It is too vulgar for anyone under 13, and too dumb for anyone over 13." Roeper panned the film with faint praise saying "it's in color. And, it was mostly in focus."[4]

text: Accolades[edit]

text: Rob Schneider was nominated for a Razzie Award for Worst Actor of the Decade for his performance in the film.

text: Home media [edit]

text: The Hot Chick was released May 13, 2003 on VHS and DVD. The DVD featured the deleted scenes that would have made the film an R, including an alternate ending.[5]


document_title: Winnie-the-Pooh

question_text: where did winnie the pooh get his name

question_tokens: where did winnie the pooh get his name

text: Winnie-the-Pooh

text: History

text: Origin

text: A. A. Milne named the character Winnie-the-Pooh after a teddy bear owned by his son, Christopher Robin Milne, who was the basis for the character Christopher Robin. The rest of Christopher Robin Milne's toys – Piglet, Eeyore, Kanga, Roo, and Tigger – were incorporated into Milne's stories.[2][3] Two more characters, Owl and Rabbit, were created by Milne's imagination, while Gopher was added to the Disney version. Christopher Robin's toy bear is on display at the Main Branch of the New York Public Library in New York City.[4]

text: Christopher Milne had named his toy bear after Winnie, a Canadian black bear he often saw at London Zoo, and "Pooh", a swan they had met while on holiday. The bear cub was purchased from a hunter for $20 by Canadian Lieutenant Harry Colebourn in White River, Ontario, Canada, while en route to England during the First World War.[5] He named the bear "Winnie" after his adopted hometown in Winnipeg, Manitoba. "Winnie" was surreptitiously brought to England with her owner, and gained unofficial recognition as The Fort Garry Horse regimental mascot. Colebourn left Winnie at the London Zoo while he and his unit were in France; after the war she was officially donated to the zoo, as she had become a much loved attraction there.[6] Pooh the swan appears as a character in its own right in When We Were Very Young.

text: In the first chapter of Winnie-the-Pooh, Milne offers this explanation of why Winnie-the-Pooh is often called simply "Pooh":

text: But his arms were so stiff ... they stayed up straight in the air for more than a week, and whenever a fly came and settled on his nose he had to blow it off. And I think – but I am not sure – that that is why he is always called Pooh.

text: The American writer William Safire surmised that the Milnes' invention of the name "Winnie the Pooh" may have also been influenced by the haughty character Pooh-Bah in Gilbert and Sullivan's The Mikado (1885).[7]

text: Ashdown Forest: the setting for the stories

text: The Winnie-the-Pooh stories are set in Ashdown Forest, East Sussex, England. The forest is a large area of tranquil open heathland on the highest sandy ridges of the High Weald Area of Outstanding Natural Beauty situated 30 miles (50 km) south of London. In 1925 Milne, a Londoner, bought a country home a mile to the north of the forest at Cotchford Farm, near Hartfield. According to Christopher Milne, while his father continued to live in London "...the four of us – he, his wife, his son and his son's nanny – would pile into a large blue, chauffeur-driven Fiat and travel down every Saturday morning and back again every Monday afternoon. And we would spend a whole glorious month there in the spring and two months in the summer."[8] From the front lawn the family had a view across a meadow to a line of alders that fringed the River Medway, beyond which the ground rose through more trees until finally "above them, in the faraway distance, crowning the view, was a bare hilltop. In the centre of this hilltop was a clump of pines." Most of his father's visits to the forest at this time were, he noted, family expeditions on foot "to make yet another attempt to count the pine trees on Gill's Lap or to search for the marsh gentian". Christopher added that, inspired by Ashdown Forest, his father had made it "the setting for two of his books, finishing the second little over three years after his arrival".[9]

text: Many locations in the stories can be linked to real places in and around the forest. As Christopher Milne wrote in his autobiography: "Pooh’s forest and Ashdown Forest are identical". For example, the fictional "Hundred Acre Wood" was in reality Five Hundred Acre Wood; Galleon's Leap was inspired by the prominent hilltop of Gill's Lap, while a clump of trees just north of Gill's Lap became Christopher Robin's The Enchanted Place because no-one had ever been able to count whether there were sixty-three or sixty-four trees in the circle.[10]

text: The landscapes depicted in E. H. Shepard's illustrations for the Winnie-the-Pooh books were directly inspired by the distinctive landscape of Ashdown Forest, with its high, open heathlands of heather, gorse, bracken and silver birch punctuated by hilltop clumps of pine trees. Many of Shepard's illustrations can be matched to actual views, allowing for a degree of artistic licence. Shepard's sketches of pine trees and other forest scenes are held at the Victoria and Albert Museum in London.[11]

text: The game of Poohsticks was originally played by Christopher Milne on a footbridge across a tributary of the River Medway in Posingford Wood, close to Cotchford Farm. The wooden bridge is now a tourist attraction, and it has become traditional to play the game there using sticks gathered in nearby woodland.[12][13] When the footbridge recently had to be replaced, the engineer designed a new structure based closely on the drawings of the bridge by Shepard in the books, which were somewhat different than the original structure.

text: First publication

text: Christopher Robin's teddy bear, Edward, made his character début in A. A. Milne's poem, "Teddy Bear", in the edition of 13 February 1924 of Punch, and the same poem was published in Milne's book of children's verse When We Were Very Young (6 November 1924).[14] Winnie-the-Pooh first appeared by name on 24 December 1925, in a Christmas story commissioned and published by the London newspaper The Evening News. It was illustrated by J. H. Dowd.[15]

text: The first collection of Pooh stories appeared in the book Winnie-the-Pooh. The Evening News Christmas story reappeared as the first chapter of the book. At the beginning, it explained that Pooh was in fact Christopher Robin's Edward Bear, who had been renamed by the boy. He was renamed after a black bear at London Zoo called Winnie who got her name from the fact that her owner had come from Winnipeg, Canada. The book was published in October 1926 by the publisher of Milne's earlier children's work, Methuen, in England, and E. P. Dutton in the United States.[16]

text: Character

text: In the Milne books, Pooh is naive and slow-witted, but he is also friendly, thoughtful, and steadfast. Although he and his friends agree that he "has no Brain", Pooh is occasionally acknowledged to have a clever idea, usually driven by common sense. These include riding in Christopher Robin's umbrella to rescue Piglet from a flood, discovering "the North Pole" by picking it up to help fish Roo out of the river, inventing the game of Poohsticks, and getting Eeyore out of the river by dropping a large rock on one side of him to wash him towards the bank.

text: Pooh is also a talented poet, and the stories are frequently punctuated by his poems and "hums." Although he is humble about his slow-wittedness, he is comfortable with his creative gifts. When Owl's house blows down in a storm, trapping Pooh and Piglet and Owl inside, Pooh encourages Piglet (the only one small enough to do so) to escape and rescue them all by promising that "a respectful Pooh song" will be written about Piglet's feat. Later, Pooh muses about the creative process as he composes the song.

text: Pooh is very fond of food, especially "hunny" but also condensed milk and other items. When he visits friends, his desire to be offered a snack is in conflict with the impoliteness of asking too directly. Though intending to give Eeyore a pot of honey for his birthday, Pooh cannot resist eating the honey on his way to deliver the present, and so instead gives Eeyore "a useful pot to put things in". When he and Piglet are lost in the forest during Rabbit's attempt to "unbounce" Tigger, Pooh finds his way home by following the "call" of the honeypots from his house. Pooh makes it a habit to have "a little something" around eleven o'clock in the morning. As the clock in his house "stopped at five minutes to eleven some weeks ago," any time can be Pooh's snack time.

text: Pooh is very social. After Christopher Robin, his closest friend is Piglet, and he most often chooses to spend his time with one or both of them. But he also habitually visits the other animals, often looking for a snack or an audience for his poetry as much as for companionship. His kind-heartedness means he goes out of his way to be friendly to Eeyore, visiting him and bringing him a birthday present and building him a house, despite receiving mostly disdain from Eeyore in return.

text: Sequel

text: An authorised sequel Return to the Hundred Acre Wood was published on 5 October 2009. The author, David Benedictus, has developed, but not changed, Milne's characterisations. The illustrations, by Mark Burgess, are in the style of Shepard.[17]

text: Another authorised sequel, The Best Bear in All the World, was published by Egmont in 2016. The sequel consists of four short stories by four leading children's authors, Kate Saunders, Brian Sibley, Paul Bright, and Jeanne Willis. Illustrations are by Mark Burgess.[18] The Best Bear in All The World sees the introduction of a new character, a Penguin, which was inspired by a long-lost photograph of Milne and his son Christopher with a toy penguin.[19] A further special story, Winnie-the-Pooh Meets the Queen, was published in 2016 to mark the 90th anniversary of Milne's creation and the 90th birthday of Elizabeth II. It sees Winnie the Pooh meet the Queen at Buckingham Palace.[20]

text: Stephen Slesinger

text: On 6 January 1930, Stephen Slesinger purchased US and Canadian merchandising, television, recording and other trade rights to the "Winnie-the-Pooh" works from Milne for a $1000 advance and 66% of Slesinger's income, creating the modern licensing industry. By November 1931, Pooh was a $50 million-a-year business.[21] Slesinger marketed Pooh and his friends for more than 30 years, creating the first Pooh doll, record, board game, puzzle, US radio broadcast (NBC), animation, and motion picture film.[22]

text: Red Shirt Pooh

text: The first time Pooh and his friends appeared in colour was 1932, when he was drawn by Slesinger in his now-familiar red shirt and featured on an RCA Victor picture record. Parker Brothers introduced A. A. Milne's Winnie-the-Pooh Game in 1933, again with Pooh in his red shirt. In the 1940s, Agnes Brush created the first plush dolls with Pooh in his red shirt. Shepard had drawn Pooh with a shirt as early as the first Winnie-The-Pooh book, which was subsequently coloured red in later coloured editions.

text: Disney ownership era (1966–present)

text: After Slesinger's death in 1953, his wife, Shirley Slesinger Lasswell, continued developing the character herself. In 1961, she licensed rights to Walt Disney Productions in exchange for royalties in the first of two agreements between Stephen Slesinger, Inc. and Disney.[23] The same year, A. A. Milne's widow, Daphne Milne, also licensed certain rights, including motion picture rights, to Disney.

text: Since 1966, Disney has released numerous animated productions starring Winnie the Pooh and related characters. These have included theatrical featurettes, television series, and direct-to-video films, as well as the theatrical feature-length films The Tigger Movie, Piglet's Big Movie, Pooh's Heffalump Movie, and Winnie the Pooh.

text: Merchandising revenue dispute

text: Pooh videos, soft toys, and other merchandise generate substantial annual revenues for Disney. The size of Pooh stuffed toys ranges from Beanie and miniature to human-sized. In addition to the stylised Disney Pooh, Disney markets Classic Pooh merchandise which more closely resembles E.H. Shepard's illustrations.

text: In 1991, Stephen Slesinger, Inc. filed a lawsuit against Disney which alleged that Disney had breached their 1983 agreement by again failing to accurately report revenue from Winnie the Pooh sales. Under this agreement, Disney was to retain approximately 98% of gross worldwide revenues while the remaining 2% was to be paid to Slesinger. In addition, the suit alleged that Disney had failed to pay required royalties on all commercial exploitation of the product name.[24] Though the Disney corporation was sanctioned by a judge for destroying forty boxes of evidential documents,[25] the suit was later terminated by another judge when it was discovered that Slesinger's investigator had rummaged through Disney's garbage to retrieve the discarded evidence.[26] Slesinger appealed the termination and, on 26 September 2007, a three-judge panel upheld the lawsuit dismissal.[27]

text: After the Copyright Term Extension Act of 1998, Clare Milne, Christopher Milne's daughter, attempted to terminate any future US copyrights for Stephen Slesinger, Inc.[28] After a series of legal hearings, Judge Florence-Marie Cooper of the US District Court in California found in favour of Stephen Slesinger, Inc., as did the United States Court of Appeals for the Ninth Circuit. On 26 June 2006, the US Supreme Court refused to hear the case, sustaining the ruling and ensuring the defeat of the suit.[29]

text: On 19 February 2007 Disney lost a court case in Los Angeles which ruled their "misguided claims" to dispute the licensing agreements with Slesinger, Inc. were unjustified,[30] but a federal ruling of 28 September 2009, again from Judge Florence-Marie Cooper, determined that the Slesinger family had granted all trademarks and copyrights to Disney, although Disney must pay royalties for all future use of the characters. Both parties have expressed satisfaction with the outcome.[31][32]

text: Adaptations

text: Theatre

text:
Winnie-the-Pooh at the Guild Theater, Sue Hastings Marionettes, 1931[33]
Winnie-the-Pooh, a play in three acts, dramatized by Kristin Sergel, Dramatic Publishing Company, 1957
Winnie-the-Pooh, a musical comedy in two acts, lyrics by A. A. Milne and Kristin Sergel, music by Allan Jay Friedman, book by Kristin Sergel, Dramatic Publishing Company, 1964
A Winnie-the-Pooh Christmas Tail, In Which Winnie-the-Pooh and His Friends Help Eeyore Have a Very Merry Christmas (Or a Very Happy Birthday.), book, music, and lyrics by James W. Rogers, Dramatic Publishing Company, 1977
"Bother! The Brain of Pooh", Peter Dennis, 1986
Winnie-the-Pooh, small cast musical version, dramatized by le Clanché du Rand, music by Allan Jay Friedman, lyrics by A. A. Milne and Kristin Sergel, additional lyrics by le Clanché du Rand, Dramatic Publishing Company, 1992

text: Audio

text: Selected Pooh stories read by Maurice Evans released on vinyl LP:

text:
Winnie-the-Pooh (consisting of three tracks: "Introducing Winnie-the-Pooh and Christopher Robin"; Pooh Goes Visiting and Gets into a Tight Place"; "Pooh and Piglet Go Hunting and Nearly Catch a Woozle") 1956
More Winnie-the-Pooh (consisting of three tracks: "Eeyore Loses a Tail"; "Piglet Meets a Heffalump"; "Eeyore Has a Birthday".)

text: In 1960 HMV recorded a dramatised version with songs (music by Harold Fraser-Simson) of two episodes from The House at Pooh Corner (Chapters 2 and 8), starring Ian Carmichael as Pooh, Denise Bryer as Christopher Robin (who also narrated), Hugh Lloyd as Tigger, Penny Morrell as Piglet, and Terry Norris as Eeyore. This was released on a 45 rpm EP.[34]

text: In the 1970s and 1980s, Carol Channing recorded Winnie the Pooh, The House at Pooh Corner and The Winnie the Pooh Songbook, with music by Don Heckman. These were released on vinyl LP and audio cassette by Caedmon Records.

text: Unabridged recordings read by Peter Dennis of the four Pooh books:

text:
When We Were Very Young
Winnie-the-Pooh
Now We Are Six
The House at Pooh Corner

text: In 1979 a double audio cassette set of "Winnie the Pooh" was produced featuring British actor Lionel Jeffries reading all characters in the stories. This was followed in 1981 by an audio cassette set of stories from "House at Pooh Corner" also read by Lionel Jeffries.[35]

text: In the 1990s, the stories were dramatised for audio by David Benedictus, with music composed, directed and played by John Gould. They were performed by a cast that included Stephen Fry as Winnie-the-Pooh, Jane Horrocks as Piglet, Geoffrey Palmer as Eeyore, and Judi Dench as Kanga.[36]

text: Radio

text:
Winnie-the-Pooh was broadcast by Donald Calthrop over all BBC stations on Christmas Day, 1925.[15]
Pooh made his US radio debut on 10 November 1932, when he was broadcast to 40,000 schools by The American School of the Air, the educational division of the Columbia Broadcasting System.[37]

text: Film

text: 2017: Goodbye Christopher Robin, a drama film exploring the creation of Winnie-the-Pooh by A.A. Milne.

text: Soviet adaptation

text: In the Soviet Union, three Winnie-the-Pooh, (transcribed in Russian as "Vinni Pukh") (Russian language: Винни-Пух) stories were made into a celebrated trilogy[38] of short films by Soyuzmultfilm (directed by Fyodor Khitruk) from 1969 to 1972, after being granted permission by Disney to make their own adaptation in a gesture of Cold War détente.[39]

text:
Винни-Пух (Winnie-the-Pooh, 1969) – based on chapter 1
Винни-Пух идёт в гости (Winnie-the-Pooh Pays a Visit, 1971) – based on chapter 2
Винни-Пух и день забот (Winnie the Pooh and the Blustery Day, 1972) – based on chapters 4 and 6.

text: Films use Boris Zakhoder's translation of the book. Pooh was voiced by Yevgeny Leonov. Unlike the Disney adaptations, the animators did not base their depictions of the characters on Shepard's illustrations, creating a different look. The Soviet adaptations make extensive use of Milne's original text, and often bring out aspects of Milne's characters' personalities not used in the Disney adaptations.

text: Television

text: 1958-1960: Shirley Temple's Storybook on NBC: Winnie-the-Pooh' A marioneets version of Winnie The Pooh, designed, made and operated by Bil And Cora Baird,

text: . Pooh himself is voiced by Franz Fazakas.

text: During the 1970s the BBC children's television show Jackanory serialised the two books, which were read by Willie Rushton.[40]

text: Disney adaptations

text: Theatrical shorts

text:
1966: Winnie the Pooh and the Honey Tree
1968: Winnie the Pooh and the Blustery Day
1974: Winnie the Pooh and Tigger Too
1981: Winnie the Pooh Discovers the Seasons
1983: Winnie the Pooh and a Day for Eeyore

text: Theatrical feature films

text:
1977: The Many Adventures of Winnie the Pooh (compilation of Honey Tree, Blustery Day, and Tigger Too)
2000: The Tigger Movie
2003: Piglet's Big Movie
2005: Pooh's Heffalump Movie
2011: Winnie the Pooh
2018: Christopher Robin[41][42]

text: Television shows

text:
Welcome to Pooh Corner (*) (Disney Channel, 1983–1986)
The New Adventures of Winnie the Pooh (ABC, 1988–1991)
The Book of Pooh (*) (Disney Channel (Playhouse Disney), 2001–2003)
My Friends Tigger & Pooh (Disney Channel (Playhouse Disney), 2007–2010)
Mini Adventures of Winnie the Pooh (Disney Junior, 2011–2014[43])

text:
Magical World of Winnie the Pooh
(Note: These are episodes from The New Adventures of Winnie the Pooh)
(*): Puppet/live-action show

text: Holiday TV specials

text:
1991: Winnie the Pooh and Christmas Too, included in A Very Merry Pooh Year
1996: Boo to You Too! Winnie the Pooh, included in Pooh's Heffalump Halloween Movie
1998: A Winnie the Pooh Thanksgiving, included in Seasons of Giving
1999: A Valentine for You

text: Direct-to-video shorts

text: 1990: Winnie the Pooh's ABC of Me

text: Direct-to-video features

text:
1997: Pooh's Grand Adventure: The Search for Christopher Robin
1999: Seasons of Giving*
2001: The Book of Pooh: Stories from the Heart
2002: A Very Merry Pooh Year*
2004: Springtime with Roo
2005: Pooh's Heffalump Halloween Movie
2007: Super Sleuth Christmas Movie
2009: Tigger & Pooh and a Musical Too
2010: Super Duper Super Sleuths

text: These features integrate stories from The New Adventures of Winnie the Pooh and/or holiday specials with new footage.

text: Video games

text: The following games are based on Disney's Winnie the Pooh.

text:
Main title / alternate title(s)

Developer

Release date

System(s)

Winnie the Pooh in the Hundred Acre Wood
Sierra On-Line
1984
Amiga, Apple II, Atari ST, Commodore 64, DOS

A Year at Pooh Corner
Novotrade, Sega
1994
Sega Pico

Ready for Math with Pooh
Disney Interactive Studios
1997
Microsoft Windows

Ready to Read with Pooh
Disney Interactive Studios
1997
Microsoft Windows

Tigger's Honey Hunt
Doki Denki, NewKidCo
2000
PlayStation, Microsoft Windows, Nintendo 64

Winnie the Pooh: Adventures in the 100 Acre Wood
Tose, NewKidCo
2000
Game Boy Color

Disney's Winnie the Pooh: Preschool
Hi Corp, Atlus
2001
PlayStation

Disney's Pooh's Party Game: In Search of the Treasure
Doki Denki, SCEE, Electronic Arts, Tomy Corporation
2001
PlayStation, Microsoft Windows

Kuma no Pooh-San: Mori no Nakamato 123
Atlus
2001
PlayStation

Pooh and Tigger's Hunny Safari
Digital Eclipse, Electronic Arts, Ubisoft
2001
Game Boy Color

Disney's Winnie the Pooh's Rumbly Tumbly Adventure
Hi Corp, Atlus
2002
PlayStation

Piglet's Big Game
Doki Denki Studio, Disney Interactive Studios, THQ, Gotham Games
2003
Nintendo GameCube, PlayStation 2, Game Boy Advance

Pooh's Hunny Pot Challenge
Walt Disney Internet Group
2003
Mobile phone

Pooh's Pairs
Walt Disney Internet Group
2003
Mobile phone

Tigger's Bouncin' Time
Walt Disney Internet Group
2003
Mobile phone

Pooh's Hunny Blocks
Walt Disney Internet Group
2003
Mobile phone

Winnie the Pooh's Rumbly Tumbly Adventure
Phoenix Games Studio, Ubisoft
2005
Game Boy Advance, Nintendo GameCube, PlayStation 2, mobile phone

Kuma no Pooh-San: 100 Acre no Mori no Cooking Book
Disney Interactive Studios
2011
Nintendo DS

Disney's Winnie the Pooh and the Honey Tree Animated Storybook
Disney Interactive Studios
2014
Microsoft Windows

tag: table

text: Legacy

text: Winnie the Pooh has inspired multiple texts to explain complex philosophical ideas. Benjamin Hoff used Milne's characters in The Tao of Pooh and The Te of Piglet to explain Taoism. Similarly, Frederick Crews wrote essays about the Pooh books in abstruse academic jargon in The Pooh Perplex and Postmodern Pooh to satirise a range of philosophical approaches.[44] Pooh and the Philosophers by John T. Williams uses Winnie the Pooh as a backdrop to illustrate the works of philosophers including Descartes, Kant, Plato, and Nietzsche.[45] Epic Pooh is a 1978 essay by Michael Moorcock that compares much fantasy writing to AA Milne's as work intended to comfort, not challenge.

text: One of the best known characters in British children's literature, a 2011 poll saw Winnie the Pooh voted onto the list of icons of England.[46] Forbes magazine ranked Pooh the most valuable fictional character in 2002, with merchandising products alone generating more than $5.9 billion that year.[47] In 2005, Pooh generated $6 billion, a figure surpassed by only Mickey Mouse.[48] In 2006, Pooh received a star on the Hollywood Walk of Fame, marking the 80th birthday of Milne's creation.[48] The bear is such a popular character in Poland that a Warsaw street is named for him, Ulica Kubusia Puchatka. There is also a street named after him in Budapest (Micimackó utca).[49]

text: In music, Kenny Loggins wrote the song "House at Pooh Corner", which was originally recorded by the Nitty Gritty Dirt Band.[50] Loggins later rewrote the song as "Return to Pooh Corner", featuring on the album of the same name in 1991. In Italy, a pop band took their name from Winnie, and were titled Pooh. In Estonia there is a punk/metal band called Winny Puhh.

text: In the "sport" of Poohsticks, competitors drop sticks into a stream from a bridge and then wait to see whose stick will cross the finish line first. Though it began as a game played by Pooh and his friends in the book The House at Pooh Corner and later in the films, it has crossed over into the real world: a World Championship Poohsticks race takes place in Oxfordshire each year. Ashdown Forest in England where the Pooh stories are set is a popular tourist attraction, and includes the wooden Pooh Bridge where Pooh and Piglet invented Poohsticks.[51] The Oxford University Winnie the Pooh Society was founded by undergraduates in 1982.

text: In the People's Republic of China, images of Pooh were censored in mid-2017 from social media websites, when internet memes comparing Chinese president Xi Jinping to Pooh became popular.[52]


document_title: Plate smashing

question_text: what do you say when you smash a plate in greece

text: Plate smashing

text: History in Greece[edit]

text: Ancient and medieval[edit]

text: The custom probably derives from an ancient practice of ritually "killing" plates on mourning occasions, as a means of dealing with loss. Breaking plates may also be related to the ancient practise of conspicuous consumption, a display of one's wealth, as plates or glasses are thrown into a fireplace following a banquet instead of being washed and reused.

text: Modern times[edit]

text: In 1969, the military dictatorship of Georgios Papadopoulos, that had suspended democracy and ruled Greece autocratically from 1967 to 1974, banned plate smashing to the great disappointment of Greeks and foreign tourists alike. While it is no longer officially allowed at Greek nightclubs, it still happens occasionally. For private celebrations such as weddings, modern Greeks may purchase specially-produced plaster plates, which are less expensive and dangerous, while being more easily broken. Another modern variation on the custom is for diners at small Greek restaurants or tavernas to buy trays of flowers that they can throw at singers and each other.

text: In popular culture[edit]

text:
In the Three's Company episode "Opening Night," (November 16, 1982) Larry Dallas invites his family, visiting from Greece, to Jacks Bistro. The large family gathering ends with the Greek celebratory custom of the breaking of plates. Reluctant at first because of all the money it will cost to replace the plates, Jack joins in the celebration when Larry says they will cover the bill for each plate. Jack then looks at Janet who shows him the final cost of all the plates that were broken. Jack, while clenching the remaining two plates he owns, throws them up in the air and says "Opa!" and lets them break as well.
In Part I of The Love Boat S6 E18 episode (February 5, 1983) titled: "Isaac's Aegean Affair/The Captain and the Kid/Poor Rich Man/The Dean and the Flunkee," Gopher initiates plate smashing in a Greek restaurant.
In the Full House episode, "Greek Week", there is a scene at a Greek family party where Rebecca Donaldson smashes a one plate. Then Joey Gladstone leads the crowds in plate smashing while Danny Tanner frantically tries to clean up the broken plates off the floor.
In the Frasier episode "Beware of Greeks," (March 17, 1998), Frasier's Greek cousin is getting married and his cousin's mother smashes plates at the wedding reception.
In Ned's Declassified School Survival Guide, episode 2.6 (November 12, 2005 ), Coconut Head smashes a plate on his head for his presentation on Greece.
The 2009 Australian stop motion animated dark comedy film Mary and Max features a plate smashing scene.
In Packed to the Rafters, episode 4.1 (February 8, 2011), the character Nick 'Carbo' Karandonis and his fiancée have an engagement party which includes smashing plaster plates and the mistaken smashing of porcelain plates.
In Come Dine with Me Canada, episode 2.16 (October 3, 2011), the evening ended with plate smashing "in keeping with the Greek ritual."
In Kitchen Cabinet, episode 2.3 (July 16, 2013), independent Australian Senator Nick Xenophon and host Annabel Crabb end a dinner discussion at a Greek "yiros" restaurant with an impromptu plate smashing.


document_title: Cinema of France

question_text: what is the name of the first french movie

text: Cinema of France

text: History[edit]

text: Les frères Lumière realized the first projection with the Cinematograph, in Paris on 28 December 1895.[14] The French film industry in the late 19th century and early 20th century was among the world's most important. Auguste and Louis Lumière invented the cinématographe and their L'Arrivée d'un train en gare de La Ciotat in Paris in 1895 is considered by many historians as the official birth of cinematography.

text: The early days of the industry, from 1896 to 1902, saw the dominance of four firms: Pathé Frères, the Gaumont Film Company, the Georges Méliès company, and the Lumières.[15] Méliès invented many of the techniques of cinematic grammar, and among his fantastic, surreal short subjects is the first science fiction film A Trip to the Moon (Le Voyage dans la Lune) in 1902).

text: In 1902 the Lumières abandoned everything but the production of film stock, leaving Méliès as the weakest player of the remaining three. (He would retire in 1914.) From 1904 to 1911 the Pathé Frères company led the world in film production and distribution.[15]

text: At Gaumont, pioneer Alice Guy-Blaché (M. Gaumont's former secretary) was made head of production and oversaw about 400 films, from her first, La Fée aux Choux, in 1896, through 1906. She then continued her career in the United States, as did Maurice Tourneur and Léonce Perret after World War I.

text: In 1907 Gaumont owned and operated the biggest movie studio in the world, and along with the boom in construction of "luxury cinemas" like the Gaumont-Palace and the Pathé-Palace (both 1911), cinema became an economic challenger to legitimate theater by 1914.[15]

text: After World War I[edit]

text: After World War I, the French film industry suffered because of a lack of capital, and film production decreased as it did in most other European countries. This allowed the United States film industry to enter the European cinema market, because American films could be sold more cheaply than European productions, since the studios already had recouped their costs in the home market. When film studios in Europe began to fail, many European countries began to set import barriers. France installed an import quota of 1:7, meaning for every seven foreign films imported to France, one French film was to be produced and shown in French cinemas.[16]

text: During the period between World War I and World War II, Jacques Feyder and Jean Vigo became two of the founders of poetic realism in French cinema. They also dominated French Impressionist Cinema, along with Abel Gance, Germaine Dulac and Jean Epstein.

text: In 1931, Marcel Pagnol filmed the first of his great trilogy Marius, Fanny, and César. He followed this with other films including The Baker's Wife. Other notable films of the 1930s included René Clair's Under the Roofs of Paris (1930), Jean Vigo's L'Atalante (1934), Jacques Feyder's Carnival in Flanders (1935), and Julien Duvivier's La belle equipe (1936). In 1935, renowned playwright and actor Sacha Guitry directed his first film and went on to make more than 30 films that were precursors to the New Wave era. In 1937, Jean Renoir, the son of painter Pierre-Auguste Renoir, directed La Grande Illusion (The Grand Illusion). In 1939, Renoir directed La Règle du Jeu (The Rules of the Game). Several critics have cited this film as one of the greatest of all-time, particularly for its innovative camerawork, cinematography and sound editing.

text: Marcel Carné's Les Enfants du Paradis (Children of Paradise) was filmed during World War II and released in 1945. The three-hour film was extremely difficult to make due to the Nazi occupation. Set in Paris in 1828, it was voted Best French Film of the Century in a poll of 600 French critics and professionals in the late 1990s.

text: Post–World War II[edit]

text: In the magazine Cahiers du cinéma founded by André Bazin, critics and lovers of film would discuss film and why it worked. Modern film theory was born there. Additionally, Cahiers critics such as Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and Éric Rohmer went on to make films themselves, creating what was to become known as the French New Wave. Some of the first films of this new genre were Godard's Breathless (À bout de souffle, 1960), starring Jean-Paul Belmondo, Rivette's Paris Belongs to Us (Paris nous appartient, 1958 – distributed in 1961), starring Jean-Claude Brialy and Truffaut's The 400 Blows (Les Quatre Cent Coups, 1959) starring Jean-Pierre Léaud. From 1959 until 1979, Truffaut followed Léaud's character Antoine Doinel, who falls in love with Christine Darbon (Claude Jade from Hitchcock's Topaz) in Stolen Kisses, marries her in Bed & Board and separates from her in the last post-New Wave movie Love on the Run.

text: Many contemporaries of Godard and Truffaut followed suit, or achieved international critical acclaim with styles of their own, such as the minimalist films of Robert Bresson and Jean-Pierre Melville, the Hitchcockian-like thrillers of Henri-Georges Clouzot, and other New Wave films by Agnès Varda and Alain Resnais. The movement, while an inspiration to other national cinemas and unmistakably a direct influence on the future New Hollywood directors, slowly faded by the end of the 1960s.

text: During this period, French commercial film also made a name for itself. Immensely popular French comedies with Louis de Funès topped the French box office. The war comedy La Grande Vadrouille (1966), from Gérard Oury with Bourvil and Terry-Thomas, was the most successful film in French theaters for more than 30 years. Another example was La Folie des grandeurs with Yves Montand. French cinema also was the birthplace for many subgenres of the crime film, most notably the modern caper film, starting with 1955's Rififi by American-born director Jules Dassin and followed by a large number of serious, noirish heist dramas as well as playful caper comedies throughout the sixties, and the "polar," a typical French blend of film noir and detective fiction. In addition, French movie stars began to claim fame abroad as well as at home. Popular actors of the period included Brigitte Bardot, Alain Delon, Romy Schneider, Catherine Deneuve, Jeanne Moreau, Simone Signoret, Yves Montand, Jean-Paul Belmondo and Jean Gabin. Since the Sixties and Seventies they are completed and followed by Michel Piccoli, Philippe Noiret, Annie Girardot, Jean-Louis Trintignant, Jean-Pierre Léaud, Claude Jade, Isabelle Huppert, Anny Duperey, Gérard Depardieu, Patrick Dewaere, Jean-Pierre Cassel, Miou-Miou, Brigitte Fossey, Stéphane Audran and Isabelle Adjani.

text: The 1979 film La Cage aux Folles ran for well over a year at the Paris Theatre, an arthouse cinema in New York City, and was a commercial success at theaters throughout the country, in both urban and rural areas. It won the Golden Globe Award for Best Foreign Language Film, and for years it remained the most successful foreign film to be released in the United States.[17]

text: Jean-Jacques Beineix's Diva (1981) sparked the beginning of the 1980s wave of French cinema. Movies which followed in its wake included Betty Blue (37°2 le matin, 1986) by Beineix, The Big Blue (Le Grand bleu, 1988) by Luc Besson, and The Lovers on the Bridge (Les Amants du Pont-Neuf, 1991) by Léos Carax. These films, made with a slick commercial style and emphasizing the alienation of its main characters, was known as Cinema du look.

text: Camille Claudel, directed by newcomer Bruno Nuytten and starring Isabelle Adjani and Gérard Depardieu, was a major commercial success in 1988, earning Adjani, who was also the film's co-producer, a César Award for best actress. The historical drama film Jean de Florette (1986) and its sequel Manon des Sources (1986) were among the highest grossing French films in history and brought Daniel Auteuil international recognition.

text: According to Raphaël Bassan, in his article «The Angel: Un météore dans le ciel de l'animation,» La Revue du cinéma, n° 393, avril 1984. (in French), Patrick Bokanowski's The Angel, shown in 1982 at the Cannes Film Festival, can be considered the beginnings of contemporary animation. The masks erase all human personality in the characters. Patrick Bokanowski would thus have total control over the "matter" of the image and its optical composition. This is especially noticeable throughout the film, with images taken through distorted objectives or a plastic work on the sets and costumes, for example in the scene of the designer. Patrick Bokanowski creates his own universe and obeys his own aesthetic logic. It takes us through a series of distorted areas, obscure visions, metamorphoses and synthetic objects. Indeed, in the film, the human may be viewed as a fetish object (for example, the doll hanging by a thread), with reference to Kafkaesque and Freudian theories on automata and the fear of man faced with something as complex as him. The ascent of the stairs would be the liberation of the ideas of death, culture, and sex that makes us reach the emblematic figure of the angel.

text: Jean-Paul Rappeneau's Cyrano de Bergerac was a major box-office success in 1990, earning several César Awards, including best actor for Gérard Depardieu, as well as an Academy Award nomination for best foreign picture.

text: Luc Besson made Nikita in 1990, a movie that inspired remakes in both United States and in Hong Kong. In 1994, he also made Léon and in 1997 The Fifth Element, which both became a cult favorite and launched the careers of Natalie Portman and Milla Jovovich.

text: Jean-Pierre Jeunet made Delicatessen and The City of Lost Children (La Cité des enfants perdus), both of which featured a distinctly fantastical style.

text: In 1992, Claude Sautet co-wrote (with Jacques Fieschi) and directed Un Coeur en Hiver, considered by many to be a masterpiece. Mathieu Kassovitz's 1995 film Hate (La Haine) received critical praise and made Vincent Cassel a star, and in 1997, Juliette Binoche won the Academy Award for Best Supporting Actress for her role in The English Patient.

text: The success of Michel Ocelot's Kirikou and the Sorceress in 1998 rejuvenated the production of original feature-length animated films by such filmmakers as Jean-François Laguionie and Sylvain Chomet.

text: In 2001, after a brief stint in Hollywood, Jean-Pierre Jeunet returned to France with Amélie (Le Fabuleux Destin d'Amélie Poulain) starring Audrey Tautou. It became the highest-grossing French-language film ever released in the United States. The following year, Brotherhood of the Wolf became the second-highest-grossing French-language film in the United States since 1980 and went on to gross more than $70 million worldwide.

text: In 2008, Marion Cotillard won the Academy Award for Best Actress and the BAFTA Award for Best Actress in a Leading Role for her portrayal of legendary French singer Édith Piaf in La Vie en Rose, the first French-language performance to be so honored. The film won two Oscars and four BAFTAs and became the third-highest-grossing French-language film in the United States since 1980. Cotillard was the first female and second person to win both an Academy Award and César Award for the same performance.

text: At the 2008 Cannes Film Festival, Entre les murs (The Class) won the Palme d'Or, the 6th French victory at the festival. The 2000s also saw an increase in the number of individual competitive awards won by French artists at the Cannes Festival, for direction (Tony Gatlif, Exils, 2004), screenplay (Agnès Jaoui and Jean-Pierre Bacri, Look at Me, 2004), female acting (Isabelle Huppert, The Piano Teacher, 2001; Charlotte Gainsbourg, Antichrist, 2009) and male acting (Jamel Debbouze, Samy Naceri, Roschdy Zem, Sami Bouajila and Bernard Blancan, Days of Glory, 2006).

text: The 2008 rural comedy Bienvenue chez les Ch'tis drew an audience of more than 20 million, the first French film to do so. Its $193 million gross in France puts it just behind Titanic as the most successful film of all time in French theaters.

text: In the 2000s, several French directors made international productions, often in the action genre. These include Gérard Pirès (Riders, 2002), Pitof (Catwoman, 2004), Jean-François Richet (Assault on Precinct 13, 2005), Florent Emilio Siri (Hostage, 2005), Christophe Gans (Silent Hill, 2006), Mathieu Kassovitz (Babylon A.D., 2008), Louis Leterrier (The Transporter, 2002; Transporter 2, 2005; Olivier Megaton directed Transporter 3, 2008), Alexandre Aja (Mirrors, 2008), and Pierre Morel (Taken, 2009).

text: Surveying the entire range of French filmmaking today, Tim Palmer calls contemporary cinema in France a kind of eco-system, in which commercial cinema co-exists with artistic radicalism, first-time directors (who make up about 40% of all France's directors each year) mingle with veterans, and there even occasionally emerges a fascinating pop-art hybridity, in which the features of intellectual and mass cinemas are interrelated (as in filmmakers like Valeria Bruni-Tedeschi, Olivier Assayas, Maïwenn, Sophie Fillières, Serge Bozon, and others).[18]

text: One of the most noticed and best reviewed films of 2010 was the drama Of Gods and Men (Des hommes et des dieux), about the assassination of seven monks in Tibhirine, Algeria. 2011 saw the release of The Artist, a silent film shot in black and white by Michel Hazanavicius that reflected on the end of Hollywood's silent era.

text: French cinema continued its upward trend of earning awards at the Cannes Festival, including the prestigious Grand Prix for Of Gods and Men (2010) and the Jury Prize for Poliss (2011); the Best Director Award for Mathieu Amalric (On Tour, 2010); the Best Actress Award for Juliette Binoche (Certified Copy, 2010); and the Best Actor Award for Jean Dujardin (The Artist, 2011).

text: In 2011, the film Intouchables became the most watched film in France (including the foreign films). After ten weeks nearly 17.5 million people had seen the film in France,[19] Intouchables was the second most-seen French movie of all-time in France, and the third including foreign movies.

text: In 2012, with 226 million admissions (1,900 million USD) in the world for French films (582 films released in 84 countries), including 82[20] million admissions in France (700 million USD), 2012 was the fourth best year since 1985. With 144 million admissions outside France (1,200 million USD),[21] 2012 was the best year since at least 1994 (since Unifrance collects data),[22] and the French cinema reached a market share of 2.95% of worldwide admissions and of 4.86% of worldwide sales.[23][24] Three films particularly contributed to this record year: Taken 2, The Intouchables and The Artist.[25] In 2012, films shot in French ranked 4th in admissions (145 million) behind films shot in English (more than a billion admissions in the US alone), Hindi (?: no accurate data but estimated at 3 billion for the whole India/Indian languages) and Chinese (275 million in China plus a few million abroad), but above films shot in Korean (115 million admissions in South Korea plus a few millions abroad) and Japanese (102 million admissions in Japan plus a few million abroad,[26][27] a record since 1973 et its 104 million admissions). French-language movies ranked 2nd in export (outside of French-speaking countries) after films in English. 2012 was also the year French animation studio Mac Guff was acquired by an American studio, Universal Pictures, through its Illumination Entertainment subsidiary. Illumination Mac Guff became the animation studio for some of the top English-language animated movies of the 2010s, including The Lorax and the Despicable Me franchise.

text: In 2015 French cinema sold 106 million tickets and grossed €600 million outside of the country. The highest-grossing film was Taken 3 (€261.7 million) and the largest territory in admissions was China (14.7 million).[28]

text: Government support[edit]

text: As the advent of television threatened the success of cinema, countries were faced with the problem of reviving movie-going. The French cinema market, and more generally the French-speaking market, is smaller than the English-speaking market; one reason being that some major markets, including prominently the United States, are reluctant to generally accept foreign films, especially foreign-language and subtitled productions.[29] As a consequence, French movies have to be amortized on a relatively small market and thus generally have budgets far lower than their American counterparts, ruling out expensive settings and special effects.

text: The French government has implemented various measures aimed at supporting local film production and movie theaters. The Canal+ TV channel has a broadcast license requiring it to support the production of movies. Some taxes are levied on movies and TV channels for use as subsidies for movie production. Some tax breaks are given for investment in movie productions, as is common elsewhere including in the United States. The sale of DVDs is prohibited for four months after the showing in theaters, so as to ensure some revenue for movie theaters. Recently, Messerlin and Parc (2014, 2017) described the effect of subsidies in the French film industry.[30]

text: Co-production[edit]

text: The French national and regional governments involve themselves in film production. For example, the award-winning documentary In the Land of the Deaf (Le Pays des sourds) was created by Nicolas Philibert in 1992. The film was co-produced by multinational partners, which reduced the financial risks inherent in the project; and co-production also ensured enhanced distribution opportunities.[31]

text:
Les Films d’Ici.[32]
La Sept-cinéma.[32]
Rhône-Alpes European Cinematographic Centre.[33]
Canal+.[34]
Rhône-Alpes région.[33]
Centre National de la Cinématographie.[34]

Fondation de France.[34]
Ministry of Foreign and European Affairs (France).[34]
Rai 3.[34]
BBC Television.[34]
Télévision Suisse Romande.[34]

text: In Anglophone distribution, In the Land of the Deaf was presented in French Sign Language (FSL) and French, with English subtitles and closed captions.[35]

text: Festivals[edit]

text:
Name
Est.
City
Type
Details
Website

Amiens International Film Festival
1982
Amiens
Special interest
Annual festival focusing on the cinemas of Europe, Asia and Latin America.
http://www.filmfestamiens.org

Festival du Film Merveilleux
2010
Paris
International
Annual film festival celebrating the imaginary, the Wonder and magic from all over the world.
http://www.festival-film-merveilleux.com/

Annecy International Animated Film Festival
1960
Annecy
Special interest

http://www.annecy.org

Festival du Film Européen Beauvais-Oise
1990
Beauvais
Europe

http://www.beauvaisfilmfest.com

Festival International du Film Ecologique de Bourges
2005
Bourges
Environmental

http://www.festival-film-bourges.fr/english/ecological-film-festival.php

Cabestany Short Film Festival
1981
Cabestany
International
Annual short film festival
http://www.courts-metrages.org

Cannes Film Festival
1939
Cannes
International
One of the world's oldest, most influential and prestigious festivals, it is held annually (usually in May) at the Palais des Festivals et des Congrès.
http://www.festival-cannes.com

CineHorizontes – Festival de cinéma espagnol de Marseille
2001
Marseille
Special interest
One of the best Spanish film festivals in France
http://www.cinehorizontes.com

Cinéma du réel – International Documentary Film Festival
1978
Paris
Special interest

http://www.cinereel.org

Créteil International Women's Film Festival
1978
Créteil
Special interest
Showcase of films by female directors.
http://www.filmsdefemmes.com/

Deauville American Film Festival
1975
Deauville
Special interest
Annual festival devoted to American cinema.
http://www.festival-deauville.com/

Deauville Asian Film Festival
1999
Deauville
Special interest
Annual festival devoted to Asian cinema.
http://www.deauvilleasia.com/

ÉCU The European Independent Film festival
2006
Paris
Special Interest
Annual festival devoted to independent cinema .
http://www.ecufilmfestival.com/

Fantastique semaine du cinéma
2010
Nice
International
Annual festival devoted to horror and fantastic cinema (Festival du Film Fantastique) cinema
http://www.cinenasty.com/

Hallucinations Collectives
2008
Lyon
Special interest
Annual festival devoted to Horror, fantastic, strange and culte cinema.
http://www.hallucinations-collectives.com

Fantastic'Arts
1994
Gérardmer
Special interest
Annual festival devoted to horror and fantastic cinema (Festival du Film Fantastique) cinema
http://www.gerardmer-fantasticart.com/

Festival du Film Polonais Cat.Studios
2007
Perpignan
Special interest
Annual festival devoted to Polish cinema.
http://www.catstudios.net

Festival du Film Web

Oloron-Sainte-Marie
Special interest

Festival International du Film de Montagne
1984
Autrans
Mountain film
first week in December
http://www.festival-autrans.com

Festival Pocket Film

Paris
Special interest
Mobile phone film festival.
http://www.festivalpocketfilms.fr

Festival international du film des droits de l'homme de Paris
2003
Paris
International
Features and shorts documentaries on human rights issues. Once a year, in February or March. Also present in other cities in France.
http://www.festival-droitsdelhomme.org/paris/

International Festival of Audiovisual Programs

Biarritz
Special interest

http://www.fipa.tm.fr

International student short-film festival of Cergy-Pontoise
1991
Cergy-Pontoise
International
Student Festival
http://lefestivalducourt.org/

Marseille Film Festival
1989
Marseille
International
Held in July
http://www.fidmarseille.org/

NollywoodWeek Paris
2013
Paris
Special Interest
Annual festival in late May showcasing the top new films from Nigerian filmmakers and Nollywood
http://www.nollywoodweek.com/

Festival du Cinéma européen de Lille
1984
Lille
Special interest
European short movies competition
http://www.filmcourt-lille.com

Paris Film Festival
2003
Paris
International
Annual festival held in between June to July.
http://www.pariscinema.org/

Premiers Plans

Angers
Special interest
Showcase of European directorial debut films.
http://www.premiersplans.org/

Three Continents Festival
1979
Nantes
Special interest
Annual festival is devoted to the cinemas of Asia, Africa and Latin America.
http://www.3continents.com

Tréguier International Film Festival
2009
Tréguier
International
Annual festival held in July. Open to all filmmakers.
http://www.treguierfilmfest.com

Utopiales – Nantes International Science-Fiction Festival
1998
Nantes
Special interest
Annual sci-fi festival.
http://www.utopiales.org/

European Student Film Festival
2006
Paris
International
Has competition, November 14 to 18, 2012
http://www.esff.org/

text: Film distribution and production companies[edit]

text: Notable French film distribution and/or production companies include:

text:
Ad Vitam
Alfama Films
ARP Sélection
Bac Films
Diaphana Films
EuropaCorp
Gaumont
Haut et Court
KMBO
Le Pacte
Les Films du Losange
Mars Films
MK2
Pan-Européenne
Pathé
Pyramide Distribution
Rezo Films
SND Films
StudioCanal
UGC
Wild Bunch


document_title: Pork ribs

question_text: where are baby back ribs located on a pig

text: Pork ribs

text: Cuts of pork ribs[edit]

text: Several different types of ribs are available, depending on the section of rib cage from which they are cut. Variation in the thickness of the meat and bone, as well as levels of fat in each cut, can alter the flavor and texture of the prepared dish.  The inner surface of the rib cage is covered by a layer of connective tissue (pleura) that is difficult to cook tender; it is usually removed before marinating or cooking.

text: Baby back ribs[edit]

text: Baby back ribs (also back ribs or loin ribs) are taken from the top of the rib cage between the spine and the spare ribs, below the loin muscle. They have meat between the bones and on top of the bones, and are shorter, curved, and sometimes meatier than spare ribs. The rack is shorter at one end, due to the natural tapering of a pig's rib cage. The shortest bones are typically only about 3 in (7.6 cm) and the longest is usually about 6 in (15 cm), depending on the size of the hog. A pig side has 15 to 16 ribs (depending on the breed), but usually two or three are left on the shoulder when it is separated from the loin.  So, a rack of back ribs contains a minimum of eight ribs (some may be trimmed if damaged), but can include up to 13 ribs, depending on how it has been prepared by the butcher. A typical commercial rack has 10–13 bones. If fewer than 10 bones are present, butchers call them "cheater racks".

text: Spare ribs[edit]

text:
Spare ribs, also called "spareribs" or "side ribs", are taken from the belly side of the rib cage, below the section of back ribs and above the sternum (breast bone). Spare ribs are flatter and contain more bone than meat, but more fat that can make the ribs more tender than back ribs. The term "spare ribs" is a Middle English corruption (via "sparrib") of "rippspeer", a Low German term that referred to racks of meat being roasted on a turning spit.[1][2]
St. Louis style ribs (or St. Louis cut spare ribs) have had the sternum bone, cartilage, and rib tips (see below) removed. The shape is almost rectangular.
Kansas City style ribs are trimmed less closely than the St. Louis style ribs, and have the hard bone removed.

text: Rib tips[edit]

text: Rib tips are short, meaty sections of rib attached to the lower end of the spare ribs, between the ribs and the sternum. Unlike back ribs or spare ribs, the structure of the rib is provided by dense costal cartilage, not bone. Rib tips are cut away from the spare ribs when preparing St. Louis style spare ribs.

text: Riblets[edit]

text: Riblets are prepared by butchers by cutting a full set of spare ribs approximately in half. This produces a set of short, flat ribs where the curved part of the rib is removed and gives them a more uniform look. Loin back ribs don't always have this removed.  When not removed they have a rounded look to them and are often referred to as baby back ribs. Another product (imprecisely) called riblets is actually the transverse processes of the lumbar vertebrae. Riblets used to be thrown out by butchers, but have become popular due to their excellent flavor and lower cost.

text: Button ribs (or feather bones) are often confused with riblets mostly because Applebee's sells these as "riblets".  In fact, what Applebee's sells is found just past the ribs near the back bone, just underneath the tenderloin.  This cut of meat actually has no bones, but instead has "buttons" of cartilaginous material with meat attached.

text: Rib tips (or brisket) are found at the bottom of the spare ribs by the sternum.  The rib tips have a high proportion of cartilage.  The rib tips give the spare ribs a rounded appearance.  In an attempt to give the meat a more uniform appearance and make it easier to eat, this piece is sometimes removed, and the remaining spare ribs are referred to as Saint Louis style ribs.

text: Other cuts and preparations[edit]

text:
Button ribs are flat, circular-shaped bones located at the sirloin end of the loin. They are not actually ribs, as they are not taken from the rib cage. The button ribs consist of the last four to six bones on the backbone; they do not have actual ribs connected to them. The meat on the button ribs consists of meat that covers each button and connects them together.
Country-style ribs  are cut from the blade end of the loin close to the pork shoulder. They are meatier than other rib cuts. They contain no rib bones, but instead contain parts of the shoulder blade (scapula).
Rib roast (or bone-in pork loin rib roast, bone-in loin rib roast, center cut rib roast, prime rib of pork, standing rib roast) is a whole pork loin with the back ribs attached. They can be up to 2 ft long and 6 in thick. They are sold whole or in sections.
Rib chops are pork steaks or chops that include a back rib bone and the loin meat attached. They are lean and tender.
Rib patties – The meat from the ribs is taken off the bone and ground to make rib patties.[3] McDonald's McRib patties contain pork meat mostly from non-rib sections of the hog.
Christmas ribs – About half of Norwegian families eat oven-cooked rib at Christmas Eve.[4] Normally, they are referred to as ribbe or juleribbe. Traditional recipes include steaming half an hour before cooking in the oven to achieve a crisp surface.[5]